Modernism is an internationally accepted design style. In addition, traditional Korean costume is not the clothing of the past, but its form is also used in modern fashion. Therefore, the purpose of this study is to examine the social and cultural contents of the morphological structure of traditional Korean costume, in order to derive the design characteristics of modernism and examine the global applicability of traditional Korean costume structure. For this study, photographic materials from museums, schematic drawings of relics, and Hanbok production books published by government agencies were analyzed. Further, this study examined traditional Korean costume, especially the modernism characteristics derived from Paul Greenhalgh and previous studies. The results are as follows. First, The traditional Korean costume is a cut based on basic shapes, along with a silhouette appears according to the background of the times. Second, the characteristics of modernism can be divided into universality, functionality, and simplicity. Third, as a result of analyzing the form structure of traditional Korean costume based on the characteristics of modernism, universality is expressed as standardized form, functionality as practical aesthetics, and simplicity as sustainable diversity. Furthermore, Korean costume has a difference in that was greatly influenced by various Eastern ideas and aesthetics of the late Joseon Dynasty. These findings provide a perspective of modern reinterpretation of the uniqueness and universality of traditional Korean costume in line with globalization by utilizing the design characteristics of modernism, an international style.

Simulacre means a copy of the original, an ostensible representation of someone or something. This study closely looks at the 2017 <VOGUE like a painting exhibition> hosted by the fashion magazine Vogue. The purpose of this study is to use both theoretical and empirical analysis to analyze the simulacre developed in fashion photographs inspired by famous paintings in the exhibition booklet. The booklet is divided into four sections: portrait, rococo, landscape painting, from avant-garde to pop art. It also contains 55 pieces comparing the original masterpieces to the works of 26 photographers inspired by them. The fashion photographs were analyzed using Jean Baudrillard’s four stages of simulacre transformation: represent, denature, dissimulate, and replace image change theory. The degree of simulacre expression was indicated three times on a four-point Likert scale by five fashion majors, and the results were integrated and analyzed. As a result, in fashion photography, simulacre— due to the development of photography technology and the photographer’s artistry— appeared in various ways; image denature was most preferred, followed by dissimulate, represent, and replace. This study shows that image analysis of fashion photographs and applying the perspective of simulacre when creating artworks can be a way to obtain rich qualitative data in the future.

This study interprets Siberian shaman costumes from the perspective of Siberian shamanism’s spiritual culture by combining theoretical and empirical studies. According to the natural environment and language families, the Siberian people are classified into the Altai, Tungus, Ural, and Paleo-Siberian groups. Se Yin’s research classifies the spiritual culture of Siberian shamanism as cosmic, spiritual, and nature view. Eliade’s research has divided Siberian shaman costumes into form, headdress, and ornament. According to the present study, shaman costume form and decoration reflect the Siberian three-tiered cosmic view, such that the shaman’s head, body and feet correspond to the upperworld, middleworld and underworld. In addition, animism, totemism and ancestral worship appear in the shamanism’s spiritual view. For example, the costume’s form shows the totem of each tribe, while the costume accessories reflect animal worship, plant worship and ancestral worship. Finally, shamanism’s nature view mainly manifests through three processes: personification, deification, and ethics. As an intermediary between man and the spirits, shaman use their clothing to reproduce the image of half man and half spirit. The shaman’s costumes are deified and considered to have divine power. For example, the animals represented on the costume help the shaman travel through space. Generally, good animals help a shaman enter the upperworld, while animals that help a shaman enter the underworld are considered evil. Also, the number of hanging accessories represents the shaman’s ability.

This study attempts to analyze the social and cultural meanings of the ethnic groups to which different types of shamans belong in Siberia from the appearance characteristics in terms of clothing through Roland Barthes’s semiotic theory. The research method here is to analyze three types of shaman costume classified by Holmberg, which are bird-type, deer-type, and bear-type, through theoretical research and to investigate the analysis process of Roland Barthes’s semiotics theory. Roland Barthes’s approach to semiotics presents an analysis model that can explore the sociocultural meaning of the Siberian shaman costume. The research results are as follows. In the first type, to be closer to the god of the upperworld, shamans transform themselves into birds by decorating their costumes with the characteristic elements of birds such as feathers and wings. In the second type, the shamans’ costumes are made of deerskin, and the headdress is shown in the shape of antlers to make it easier to receive messages from the upperworld and run fast in the underworld. In the third type, the shaman’s costume is made of bearskin, the head is covered with bearskin, and the body is decorated with bear pendants. Through the power of the bear, the shaman is sent to the underworld to defeat evil gods and remove diseases. Shamans can show their particularity of being a demigod and non-binary gender through clothing. They use this to reflect their authority as a medium of communication between man and god.

본 논문에서는 유연/인쇄 전자 기술을 활용해 고성능의 유기물 반도체 기반 트랜지스터를 개발하고, 이를 통해 인공지능용 반도체 및 폴리모픽 전자회로에 응용하기 위해 공액구조 고분자 반도체 소재의 광파 어닐링 방법에 따른 특성 향상 효과를 연구하였다. 일반적으로 열처리를 위해 가장 많이 활용되는 핫플레이트의 경우 반도체 소자 특성의 균일도 문제와 높은 온도 및 열-용량으로 인한 플라스틱 기판 사용의 제한, 긴 어닐링 시간 등의 문제로 인해 실제 산업에서 활용하는데 어려움이 있다. 이를 해결하기 위해 광파를 활용한 효과적인 유기물 반도체 필름의 열처리 공정을 개발함으로써 Roll-to-Roll 방식의 고속/대면적 인쇄 공정에 적합한 열처리 방법과 반도체 층 전체의 높은 결정화도 유도를 통한 성능 향상과 소자 균일도 개선을 위한 방법을 개발하였다.

Goldwork embroidery is the art of embroidery using metal threads. As well as being used as a decorative element of religious clothing, flags, performing costumes, uniforms, and badges, goldwork embroidery is also used in many current designer collections. Therefore, this study aimed to examine the techniques and materials of goldwork embroidery and the formative characteristics and socio-cultural values of goldwork embroidery from its beginning to the early 20th century. For this study, various embroidery works, costumes, museum portraits, and literature were analyzed. The results are as follows. First, the transition of goldwork embroidery was divided into 4 categories: The beginning of goldwork embroidery; the golden age of goldwork embroidery; the maturity of goldwork embroidery; and various goldwork embroidery (depending on the materials used, usage, and design features). The earliest extant example is the “Maaseik fragments” in Belgium dating from the late 8th to early 9th centuries. Until the 15th century, the Church was the most important patron of goldwork embroidery; however, after the 15th century, goldwork embroidery was produced on costumes. Second, the social-cultural values of goldwork embroidery (based on transition and formative features) were classified as expression of divinity, instrument of governance, desire to be approved, and tools of self-expression. Through this study, it is evident that there have been many advances in both technique and technology over time. Furthermore, patterns of usage and social-cultural values of goldwork embroidery have changed significantly.

Purpose : In order to verify using Convergence Insufficiency Symptom Survey(CISS) is proper method to distinguish convergence insufficiency(CI) group and normal binocular vision(NBV) group in adults. Methods : 97 subjects 19 to 35 with normal VA and no strabismus participated in this study. Phoria, positive fusional vergence(PFV), nearpoint of convergence(NPC) and accommodation convergence/ accommodation(AC/ A) of 97 were measured. Results : According to criteria, 62 subjects were included in this study and analysed with CISS. Nine subjects had CI and 53 had NBV. General symptoms of CI group were significantly greater occurrence of Jose concentration, tiredness, sleepiness, uncomfort, double vision and blurring in that order. A significant difference between CISS seore of CI subjects (mean±SD: 25.67±7.67) and NBV group(l2.74 ±4.80) were found(p=O.OOO). The area under the ROC curve was 0.955 indicating outstanding discrimination using the CISS. Using seores of 21 or higher to denote CI, a sensitivity of 88.9% and specificity of 98.1% were obtained. Conclusions : The results suggest that the CISS is a valid instrument for differentiating adults with symptomatic CI from those with symptomatic NBV. Adopting score 21 as cutoff value, it is proved that distinguishing Cl from normal is most precise. Additionally, Adults in this age group were able to respond to a broad range of symptom questions associated with CI. It. therefore, demonstrates CISS is a valid preliminary examination to scan CI patient.

목적: 수평 및 수직 프리즘을 가입하여 인위적으로 편위를 유발시킨 후 시간 경과에 따라 사위도의 변화를 조사하여 프리즘적응을 분석하고자 하였다. 방법: 정상 양안단일시를 하는 25.3±3.2세의 성인 42명(남자 23명, 여자 19명)을 대상으로 프리즘적응 검사를 실시하였다. 16Δ BO, 8Δ BI, 우안기준 3Δ BU 및 3Δ BD으로 편위를 유발시켰다. 프리즘 가입 전과 가입 직후, 3분, 6분, 12분, 20분 및 30분 후에 원·근거리(3m, 40cm)에서 Modified Thorington 방법으로 수평 및 수직 사위를 측정하였다. 결과: 16Δ BO을 가입한 직후 외편위, 8Δ을 BI 가입한 직후 내편위, 3Δ BU을 가입한 직후 우안 기준 좌안 상편위 및 3Δ BD을 가입한 직후 하편위가 각각 유발되었다. 이때 빠른 융합버전스 작용에 의해 프리즘 가입양의 약 36∼60% 정도가 1차적으로 적응되었다. 30분 동안 프리즘가입으로 유발된 편위는 원거리와 근거리에서 모두 느린 융합버전스 작용에 의해 원래의 사위도(baseline)를 향해 점차 회복되는 지수감소곡선의 회귀식을 보였다. 프리즘 가입 양이나 기저방향에 관계없이 가입 초기부터 약 12분까지 원래의 사위도 방향으로 급하게 회복되는 2차 적응이 일어났고, 그 이후부터는 약하게 회복되는 3차 적응이 일어나 30분의 검사시간 동안 가입된 프리즘양의 약 90% 정도의 적응을 보였다. 프리즘적응의 정도는 프리즘의 기저방향이나 주시거리에 따라 차이가 있었다. 결론: 수평 및 수직 프리즘 가입 직후 빠른 융합버전스 작용이 일어났으며 시간이 경과함에 따라 느린 융합버전스 작용이 일어나 원래의 사위도로 회복되는 1차, 2차 및 3차의 프리즘적응현상이 확인되었다. 따라서 임상에서 수평 및 수직 프리즘을 처방할 때 프리즘적응 현상을 고려하고 프리즘적응의 영향을 최소화하기 위해서 프리즘을 처방하기 전에 프리즘적응 검사가 필요하다고 사료된다.

목적: 수평 및 수직 프리즘을 가입하여 프리즘 적응이 일어나는 동안 입체시력의 변화를 조사하고 프리즘으로 유발된 편위가 입체시에 미치는 영향을 알아보고자 하였다. 방법: 정상 양안단일시를 하는 25.3±3.2세의 성인 42명(남자 23명, 여자 19명)을 대상으로 16△ BO, 8△ BI, 우안기준 3△ BU 및 3△ BD을 가입하여 프리즘 적응 검사를 실시하였다. 프리즘 가입 전과 가입 직후, 3분, 6분, 12분, 20분 및 30분 후에 Three-needle Test(TN), Stereo Reindeer Test의 Numbered circles(RNC), The Borish Vectographic Nearpoint Card II의 Stereopsis Tartets Cluster(BSC) 및 random dot Cell(BSRC)을 이용한 입체시 검사를 실시하였다. 결과: 수평 및 수직 프리즘으로 편위가 유발되었을 때 모든 항목의 입체시력이 급격하게 저하되었다. 프리즘 가입으로 저하된 입체시력은 30분의 적응시간 동안 프리즘 가입 전에 측정된 원래의 입체시력(baseline)을 향해 점차 회복되는 지수감소곡선의 회귀식을 보였다. 프리즘 가입 양이나 기저방향에 따라 약간씩의 차이는 있었으나 일반적으로 프리즘 가입 후 약 6분까지 많은 회복이 있었고 그 이후에는 약한 회복을 보였다. 프리즘 적응 동안 프리즘으로 유발된 편위로 인한 사위도 변화와 입체시력의 변화는 높은 상관관계를 보였고 입체시력을 측정하여 프리즘의 적응 정도를 평가할 수 있는 선형 및 지수감소 회귀식을 얻을 수 있었다. 결론: 수평 및 수직 프리즘 가입으로 편위가 유발되었을 때 입체시력이 급격하게 저하되었으나 적응에 의해 원래의 입체시력으로 회복되었다. 그러므로 입체시력을 측정하여 프리즘 적응의 평가가 가능함을 확인할 수 있었다.

목 적 : 노안 이전 안경착용자에서 표준 단초점렌즈와 조절기능을 개선시키기 위해 고안 된 기능성렌즈를 착용했을 때 임상성능을 비교분석하고자 한다. 방 법 : 35~45세(평균 39.7±3.9세)의 건강한 50명을 선정하였다. 단초점렌즈와 기능성 렌즈(릴랙시렌즈, 니콘사)를 1개월 착용했을 때 원거리와 근거리 교정시력, 조절근점, 폭주근 점, 원거리와 근거리 수평사위도, 조절이용능력을 측정하고 자각적 만족도를 설문조사하였다. 결 과 : 단초점렌즈와 비교하여 기능성렌즈를 착용했을 때, 적응 용이성과 원거리에서 시 각적 활동에 대한 만족도는 유의한 차이가 없었다. 근거리시력, 조절근점, 폭주근점 및 조절 용이성이 유의하게 개선되었다. 근거리에서 시각적 활동과 관련된 만족도는 단초점렌즈보다 기능성렌즈에서 더 높게 나타났다. 최종적으로 70% 정도가 단초점렌즈보다 기능성렌즈를 선 호하였다. 결 론 : 기능성렌즈가 단초점렌즈보다 컴퓨터 작업을 포함한 근거리 시각활동에 대한 성 능이 우수한 것으로 나타났으며, 예비 노안자의 근거리 작업성능과 삶의 질이 향상될 것으로 생각된다.